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Browse by Artist: PELT
A Stone For Angus MacLise
Recorded during the same home blasts that produced
(VHF Records, 2008), this 2007 trio session for harmonium, singing bowl, gong and
is one of the most ecstatic recordings in
's vast oeuvre. Like the legendary poet/musician for whom this album is named, Pelt have never gotten hung up on the epistemology of drones. The generation of meditative trance states is as valid when produced by
's banjo as by
La Monte Young
's well-tuned piano. Hints of both lurk deep in the wells of sound Pelt produces. Two side-long slabs of aural bliss. Best heard behind a few bowls of your very best kif. Edition of 500 with stickered cover and insert.
2010 repress, originally released in 1997. "Pelt's mix of traditional (acoustic instruments, folk and ethnic music) and contemporary (about one million super-weird noise and avant-garde records) reaches a peak on
(pronounced 'Teyhood'). Using tamboura, guitar, violin, tabla, banjo, flute, lap steel, oscillator, voice, organ and a variety of other instruments both conventional and homemade, Pelt issues forth a massive and extraordinary gust of sound. Recorded both at home and live in Washington, DC, it's a sound extravaganza complete with Indian-inspired modal trance, wall-of-sound layered melodica, and tape-loop exotica in the vein of compositional explorers like Terry Riley and Steve Reich."
is a devastating set of almost pure white light from the newly upgraded Pelt lineup. The album's intense drone music represents a return to 'sonic-ism' for the quartet of Jack Rose, Mike Gangloff, Patrick Best, and Mikel Dimmick. Like 2003's effort
Pearls from the River
is an all-acoustic affair. The group concentrates on producing dense clouds of overtones from guitar, cello, Tibetan bowls, gongs, sruti, and esraj. Track one is an overpowering straight line a la the Theatre of Eternal Music, an atmosphere of stasis with gong and bowl flickering subtly over the massive track bed. Track two is a 32-minute epic that begins with the soft strains of Jack Rose's 12 string, picks up dueling cello and esraj and gradually builds in intensity with the sounds of gongs and other unusual percussion. Track three is the live staple 'Sundogs,' where Rose's Weissenborn lap guitar and Gangloff's resonator guitar produce a stream of unearthly high, singing overtones in an uncanny acoustic impression of electric feedback. The final track is an epilogue of Best's keening cello, again ignoring the usual technique associated with the instrument in the pursuit of pure weirdness."
Index of Artists